AKG D 440 Owner's manual

Bedienungshinweise . . . . . . . . . . . . . . . . . . S. 2

Bitte vor Inbetriebnahme des Gerätes lesen!

User Instructions . . . . . . . . . . . . . . . . . . . . p. 13

Please read the manual before using the equipment!

Mode d’emploi . . . . . . . . . . . . . . . . . . . . . . p. 24

Veuillez lire cette notice avant d’utiliser le système!

Istruzioni per l’uso . . . . . . . . . . . . . . . . . . . p. 35

Prima di utilizzare l’apparecchio, leggere il manuale!

Modo de empleo . . . . . . . . . . . . . . . . . . . . p. 46

Antes de utilizar el equipo, sírvase leer el manual!

Instruções de uso . . . . . . . . . . . . . . . . . . . p. 57

S.f.f. leia este manual antes de usar o equipamen

to!

D 440

AKG.EMOTION

EMOTION

MICROPHONE

SERIES

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13

1 Precaution/Description

1.1 Precaution

1.2 Unpacking

1.3 Features

1.4 Brief

Description

Please make sure that the piece of equipment

your microphone will be connected to fulfills the

safety regulations in force in your country and is

fitted with a ground lead.

Check that the packaging contains all of the com-

ponents listed above. Should anything be miss-

ing, please contact your AKG dealer.

• Frequency response tailored to instrument

miking.

• Integrated swivel stand adapter for easy

mounting on a microphone stand.

• H 440 bracket for direct mounting on a drum

shell.

• Built-in windscreen/pop filter for effective

suppression of pop and breath noise.

• Transducer shock mount reduces handling and

cable noise.

• Frequency-independent cardioid polar

response for high gain before feedback.

The D 440 is a unidirectional (pressure gradient)

dynamic microphone. It has been designed pri-

marily as an instrument microphone for rough

stage use. The integrated stand adapter provides

a swivel range of approximately 135 degrees for

easy, precise, and reliable microphone alignment.

The supplied H 440 bracket allows you to clamp

1 D 440 1 H 440

14

1 Description

1.5 Optional

Accessories

the microphone directly on the top hoop of a tom-

tom, snare drum, roto-tom, etc. The frequency

independent cardioid pickup pattern of the D 440

ensures high gain before feedback. The D 440 is

fitted with a shock absorbing inner grille that pro-

tects the transducer against damage. The strong

plastic housing and the wire-mesh outer grille pro-

vide additional protection for the transducer

system. The outer grille and a layer of special

fabric beneath it form a very effective windscreen

that will suppress blowing and wind noise on

open-air stages.

• MK 9/10 microphone cable: 10 m (30 ft.) 2-

conductor shielded cable with 3-pin male and

3-contact female XLR connectors

• ST 102A, ST 200 floor stands

• ST 1, ST 12, ST 45 table stands

• W 880 windscreen

15

2 Wiring

2.1 Circuit

Diagram

Fig. 1: Microphone

circuit diagram.

2.2 Connecting

the Microphone

to a Balanced

Input

Fig. 2: Using a

balanced connect-

ing cable.

The microphone provides a balanced output on a

3-pin male XLR connector:

Pin 1: ground

Pin 2: hot

Pin 3: return

You can connect the microphone either to a

balanced or an unbalanced microphone input.

1. Use a commercial XLR cable such as the

optional MK 9/10 from AKG.

The length of these cables does not affect

audio quality.

2. Plug the female XLR connector on the micro-

phone cable into the male XLR connector on

the microphone.

16

2 Wiring

2.3 Connecting

the Microphone

to an

Unbalanced

Input

Fig. 3: Using an

unbalanced cable.

3. Plug the other connector on the microphone

cable into the desired microphone input socket

on your mixer or amplifier.

1. To connect the microphone to an unbalanced

microphone input (1/4” jack), use a cable with a

female XLR connector and a 1/4” TS jack plug.

These cables are available at music stores.

Please note that unbalanced cables may pick

up interference from stray magnetic fields near

power or lighting cables, electric motors, etc.

like an antenna. This may cause hum or similar

noise when you use a cable that is longer than

16 feet (5 m).

2. Plug the female XLR connector on the micro-

phone cable into the male XLR connector on

the microphone.

3. Plug the other connector on the microphone

cable into the desired microphone input jack

on your mixer or amplifier.

17

3 Using Your Microphone

3.1 Saxophone

Fig. 4: Microphone

placement for the

saxophone.

The best way to get the “right” sound is to experi-

ment with microphone placement. The following

sections contain useful suggestions.

Please note that moving the microphone closer to

the instrument will boost the bass range. (This is

known as “proximity effect”.)

If you consider the noise produced by the keys as

characteristic of the saxophone sound or the

song, point the microphone at the middle of the

instrument.

However, if you want no key noise, direct the

microphone toward the front outer rim of the bell.

If you aim the microphone into the bell, you will get

a high amount of wind noise.

Optimum working distance is 8 to 12 inches.

On stage, you may have to move as close as

2 inches to the microphone in order to avoid

getting feedback or spillover from other in-

struments. In this situation, make sure not to blow

right into the microphone.

18

3 Using Your Microphone

3.2 Trumpet

Fig. 5: Microphone

placement for the

trumpet.

The trumpet can put out sound pressure levels up

to 130 dB. In order to prevent overload distortion

aim, the microphone at the lower rim of the bell.

Optimum working distance is 12 to 20 inches.

On stage, you may have to move as close as

2 inches to the microphone in order to avoid

getting feedback or spillover from other in-

struments. In this situation, make sure not to blow

right into the microphone.

If you get too much blowing noise, use an extra

windscreen, e.g., the optional W 880 from AKG.

19

3 Using Your Microphone

3.3 Guitar Amp

Fig. 6: Microphone

placement for a

guitar amp.

3.4 Tom-toms,

Snare Drum

Fig. 7: Mounting

the microphone on

a tom-tom.

Loudspeakers radiate high frequencies within a

very narrow angle.

Place the microphone about 2 to 6 inches in front

of the loudspeaker diaphragm and aim the micro-

phone at the center of the diaphragm.

1. To prevent the top head from ringing excessively,

tape a strip of felt or a piece of tissue paper to the

skin in an off-center position.

2. Screw the supplied H 440 bracket to the stand

adapter on the microphone using the captive

knurled-head screw on the H 440 bracket.

20

3 Using Your Microphone

Refer to fig. 7.

Fig. 8: Aligning the

microphone with a

tom-tom or roto

tom.

3.5 Bongos,

Congas,

Timbales

Fig. 9: Microphone

placement for

bongos.

3. Engage the top groove of the H 440 bracket in

the top hoop from above.

4. Engage the lower arm of the H 440 bracket in

the underside of the top hoop.

5. Align the microphone with the perimeter of the

top head.

Place the microphone as close as possible to the

drums, aiming it between the two drums.

21

3 Using Your Microphone

Also refer to

section 3.4

Alternatively, you could use two microphones:

Set the microphones up in a “V” forming an angle

of about 45 degrees and aim them at the perim-

eter of the top head.

Experiment to find out at what working distance

you get exactly the amount of attack you want.

The closer you place the microphone(s), the

punchier the sound will get.

To mic up timbales or similar drums with a top

hoop, you may also use the H 440 bracket to

mount the microphone directly on the top hoop.

To clean the microphone case, use a soft cloth

moistened with water.

4 Cleaning

22

5 Troubleshooting

Problem

No sound:

Possible Cause

1. Power to mixer

and/or amplifier is

off.

2. Channel or master

fader on mixer, or

volume control on

amplifier is at zero.

3. Microphone is not

connected to

mixer or amplifier.

4. Cable connectors

are seated loosely.

5. Cable is defective.

Remedy

1. Switch power to

mixer or amplifier

on.

2. Set channel or

master fader on

mixer or volume

control on ampli-

fier to desired

level.

3. Connect micro-

phone to mixer or

amplifier.

4. Check cable

connectors for

secure seat.

5. Check cable and

replace if

damaged.

23

6 Specifications

Type: dynamic pressure gradient microphone

Polar pattern: cardioid

Frequency range: 60 to 20,000 Hz

Sensitivity at 1000 Hz: 2.5 mV/Pa (–52 dBV re 1 V/Pa)

Equivalent noise level: 18 dB(A) (DIN 45412)

Max. SPL for 1 % / 3 % THD: 147 dB SPL / 156 dB SPL

Electrical impedance at 1000 Hz: ≤600 ohms

Recommended load impedance: ≥2000 ohms

Environment: temperature: –10°C to +60°C

rel. humidity at +20°C: 95%

Connector: 3-pin XLR

Connector pinout: pin 1: ground

pin 2: hot

pin 3: return

Case material: plastic

Finish: matte black enamel

Size: length: 85 mm (3.4 in.); max. dia.: 46 mm (1.8 in.);

height: 104 mm (4 in.)

Net/shipping weight: 148 g (5.2 oz.) / 438 g (1.0 lb.)

This product conforms to EN 50 082-1.

Frequency Response Polar Diagram

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64

3 Aplicação

Veja fig. 7.

Fig. 8: Direciona-

mento do micro-

fone para tom-tom

e roto-tom.

3.5 Bongôs,

congas, timbas

Fig. 9: Posiciona-

mento do micro-

fone para bongôs

H 440 na conexão de tripé integrada do micro-

fone.

3. Engate a ranhura superior do fecho de aperto

H 440 na borda superior do aro.

4. Engate a ranhura inferior do fecho de aperto

H 440 na parte inferior do aro.

5. Direcione o microfone para a borda exterior da

pele.

Coloque o microfone o mais perto possível dos

bongôs e oriente o microfone entre os dois instru-

mentos.

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Printed in Austria on recycled paper. 06/00/9100 U 0995

Technische Änderungen vorbehalten. Specifications subject to change without notice. Ces caractéristiques sont susceptibles de modifications.

Ci riserviamo il diritto di effettuare modifiche tecniche. Nos reservamos el derecho de introducir modificaciones técnicas. Especificações sujeitas à mudanças sem aviso prévio.

AKG Acoustics GmbH

Lemböckgasse 21–25, P.O.B. 158, A-1230 Vienna/AUSTRIA, Tel: (43 1) 86 654-0*, Fax: (43 1) 86 654-516,

http://www.akg-acoustics.com, e-mail: [email protected]

AKG Acoustics, Harman Pro GmbH

Bodenseestraße 228, D-81243 München/GERMANY, Tel: (089) 87 16-0, Fax: (089) 87 16-200,

http://www.akg-acoustics.de, e-mail: [email protected]

AKG ACOUSTICS, U.S.

1449 Donelson Pike, Nashville, TN 37217, U.S.A., Tel: (615) 360-0499, Fax: (615) 360-0275,

http://www.akgonline.com, e-mail: [email protected]

For other distributors worldwide see our website: http://www.akg-acoustics.com

AKG.EMOTION

EMOTION

MICROPHONE

SERIES

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